My Reactions to Disney’s “Wish” Teaser Trailer

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If you’ve read this blog long enough, you know how much I love Disney. The projects they’ve announced for their centennial this year have been hit or miss (Little Mermaid and Peter Pan remakes? Not interested. Big history exhibit with Tupac Walt Disney hologram? Very cool. Suing the pants off Ron DeSantis? Awesome!) but the one thing I’ve been looking forward to the most is their next animated film Wish. What little of the premise revealed at D23 revolves around the time-honored Disney tradition of wishing on stars. What really drew me in, though? THE ARTWORK:

Ever since Paperman I’ve hoped that Disney would create a full animated feature blending traditional and CGI mediums in a beautiful, unique way, and now it seems we’re finally getting it. Look at that last picture, it’s like a watercolor illustration! I’ve been keeping tabs on Wish since the D23 debut because the potential here is staggering. Yesterday morning Disney released the first teaser trailer, and if you’ve read this far then you’re probably wondering what I think about it. After all, viscerally reacting to trailers and making bold assumptions before knowing the full context is nothing new on the internet, right?

Faerie Tale Theatre Reviews: The Snow Queen

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“Cold be hot and friends be kind when love unites the heart and mind.”
– The Snow Queen’s moral wrapped in a riddle wrapped in a slide puzzle

“You’re doing it! You’re finally reviewing Frozen!!”

“No I’m not. I’m reviewing The Snow Queen, the story that loosely – very loosely – inspired Frozen. There’s a difference.”

“Does it have a singing snowman recapping Disney movies?”

“Nope.”

“Fine, I’ll be on my AO3 writing more Elsa/Honeymaren fluff.”

I might as well get this out of the way, my feelings toward Frozen are…mixed. Granted, I understand why the story was altered to the point of barely resembling its literary counterpart. Hans Christian Andersen painted the original fairy tale with a ton of heavy Christian overtones that can be preachy at times. Said original is also very episodic like most of Andersen’s works, which means changes for the screen aren’t just inevitable but encouraged.

I stand by what I’ve said before about alterations in adapting fairy tales, they need to be done for modern audiences. The problem lies in the story completely shifting so the filmmakers can soapbox in as ham-fisted a manner as possible about past Disney romances being unrealistic, and then said story balloons in popularity to such a degree that Disney can’t go five minutes without pushing it in your face at the cost of other excellent films, and…well, that’s when one tends to grow more critical over it over time.

But what of the narrative that inspired Frozen in the first place? The Snow Queen is one of Hans Christian Andersen’s most popular tales, as well as his longest. The story is divided into seven chapters and is almost novel length. As this is a fairytale from Andersen, The Snow Queen is wholly authentic; it’s been speculated, however, that he based the cold-hearted character on one of his unrequited loves.

You know how some people write to cope and provide happy endings where real life couldn’t? Andersen wrote like a teenager using fanfiction to vent.

“And when the Little Mermaid could not find true love, she threw herself into the sea and DIED and her BODY turned to SEA FOAM. CRAAAAAWLING IN MY SKIIIIN, THESE WOOOUNDS THEY WILL NOT HEAAAAL!!”

Andersen included a different origin story for The Snow Queen in his biography: his sick father on his deathbed drew a figure not unlike a woman with outstretched arms on the icy window, and joked to his young son “She comes to fetch me.” He died soon after, and Andersen’s mother told him “The Ice Maiden has fetched him.” This “Ice Maiden” has her own story separate from the Snow Queen, but the idea of coldness connected with death, specifically in form of an elegant but dangerous woman, is a reoccurring motif in many of Andersen’s fables.

Another symbol that can be found here as well as other Andersen stories is that of the wise beloved grandmother, a nod to Andersen’s own grandmother from whom he learned many Danish fairy tales. Bible imagery is also included in The Snow Queen as previously stated, from various Christian verses worked into the text, to the main conflict being kicked off by a school of demons trying to reach God with their evil mirror and getting struck down like the Tower of Babel. The Snow Queen is rife with the themes of growing up, devotion, bravery and love conquering all – but unlike Frozen, the love between our main characters is supposed to be read as platonic, not romantic.

“But Elsa and Anna aren’t supposed to be romantic -“

“I’M SAYING IT OUT LOUD FOR THE INCEST SHIPPERS TO HEAR!!”

I promise that this will not be a review bashing Frozen, but the differences between it and the source material are like night and day. Revisiting The Snow Queen I was reminded of how many missed opportunities there were to tell a very different story about love, adventure and maturity in a compelling way. No one work of fiction should be held as the definitive version as nearly all stories deserve to be retold. So for the sake of this review and for all the angry Frozen fans that are going to come after me, can we just…

“Say the line, Shelf!”

“…let it go.”

August Review: Song of the Sea (2014)

One of my favorite books from my childhood was Stories From The Sea, a collection of folktales from around the world revolving around one thing:

Ah, no.

These stories answered such questions as why the sea is salty, where do storms come from, who Sinbad the Sailor was, and why Disney had the right idea when they altered the ending to The Little Mermaid. More to the point, they introduced me to the wondrous mythical creatures known as selkies. What are selkies, you may ask? STORY TIME!

On a cliff by a shore lived a lonely fisherman. Day in and day out he pulled his nets and sold his fish, but had no wife and children to come home to. Early one morning, the fisherman heard the sounds of singing and laughter coming from the beach. He followed it until he found a group of beautiful women with flowing hair and large brown eyes, naked as the day they were born, dancing on the sand. He saw a pile of discarded seal skins nearby and instantly knew who they were – selkies, the souls of people drowned at sea who could turn themselves into seals.

“And what if I should take one of those wee skins for meself, I wonder?” the fisherman murmured. He snatched up the nearest skin, but one of the selkies saw him and cried out. The others panicked, grabbed their skins and fled into the sea, yelping like seal cubs at dawn as they changed back and swam away. Only the woman whom the fisherman had stole from remained; “Please sir, give me back my skin, I cannot return home without it!” she cried. But the fisherman refused, and told her he would return it to her seven years to the day if she agreed to be his wife. Left with no other choice, the selkie capitulated to him.

They were married and in time she gave him a beautiful son, one who brought light and laughter to her days. But as the years wore on, the selkie grew thin, pale and sickly. Her heart longed for the sea. If she continued on this way, she likely wouldn’t live to see next summer. When the seven years ended, the selkie demanded that her husband return what he promised her, but once again he refused; he was afraid that she would leave him if he gave back her seal skin.

As it so happened, their son wandered into the barn the following morning and found a beautiful, soft coat of silky fur hidden on one of the beams. Inhaling the sweet familiar scent, he knew at once that it belonged to his mother. The selkie was overjoyed when he brought it to her and flew to the shore, wrapping herself in her skin and becoming whole again. The son chased after her, begging her to take him with her. Alas, he was mortal and she was not, so the only thing she could do was give him a small glimpse of her world beneath the waves before returning him home to his father.

The lad grew up into a beloved storyteller with a voice that could make even the most hardened soul weep. On early mornings, one could see him out at sea whispering to a seal in the waves. Some say it was his mother, the selkie, passing on her songs and tales to him; why else would he have the same beautiful brown eyes as she?

“That was a pointlessly long way of saying ‘They’re were-seals’.”

“I LIKE telling stories! Sue me for making a career out of it!”

I actually bring this tale up because many selkie stories, including today’s movie, follow the same pattern as the aforementioned one. Critics praised Song of the Sea as an original masterpiece, but if you were already familiar with this one story going in, then it’s incredibly easy to spot where things are going. And I’m gonna be honest here…maybe it’s because I know the story so well that I’m not as in love with this movie as most animation aficionados are.

Fifth Anniversary Review: Ratatouille (2007)

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The very first review I wrote for this blog was the 2009 animated masterpiece The Secret of Kells, a gorgeous blend of Irish art, fantasy, and history which, incidentally, centers around the growth of a young artist. So what better way to mark this blog’s fifth anniversary than to look at another animated classic that masterfully expands on the themes of creativity, the nature of the artist, their work, and how public perception and greed thwarts the new and experimental?

Oh, and it’s also the first Pixar movie I’m reviewing because somehow I never got around to one in the past five years (so-so holiday specials notwithstanding).

You know, animation directors rarely get the recognition they deserve. A ton of work goes into creating each scene, each character, each frame from scratch, and it’s not surprising that two or more people usually have to share the responsibility of getting the movie out on time. Only a select few animation directors have risen to some prominence outside of their community, but not quite to the level of their live-action peers – with perhaps one exception.

Brad Bird, maybe you’ve heard of him: The Incredibles, The Iron Giant, helped kick off The Simpsons; he even made the jump to live-action and made some pretty good stuff in that medium too. I specifically say medium because, as he so rightfully stated, animation, like live-action, is a medium, a method used to produce artwork, not a genre. There is a distinct difference that studios and the public tend to ignore because of the stigma that animation is meant for children. Animation is a means to tell stories through, not a boxed-in category to dump kids’ movies into.

You’d think Bird’s passion and dedication to crafting mature stories for both adults and children would have made him a shoo-in to direct Ratatouille, especially after his Oscar win for The Incredibles. That wasn’t the case, however. Long-time animator and storyboarder Jan Pinkava got the ball rolling, but was replaced when the the film hit story troubles. Anyone who’s kept an eye on Pixar’s output will undoubtedly note that whenever a director is switched out during production (Brave, The Good Dinosaur, and depending on your POV, Toy Story 4), the resulting features wind up being, well, let’s call them a mixed bag. But in this case, bringing Bird onboard was nothing short of a godsend for Ratatouille. The film may have started as Pinkava’s brainchild, but it was Bird who really got what the story was about. His drastic changes, from redesigning the rats to be less anthropomorphic to even killing off one of the central characters, reinvented the film from the ground up, and got him his second Oscar for Best Animated Feature.

I’m happy to say that at the time this review is being wrapped up, Ratatouille is undergoing something of a critical re-evaluation and renaissance; yes, it was a big hit on release, but there was a long period of time where, despite its overwhelming success, it was something that Pixar itself seemed to have forgotten about. There were no plans for a sequel (unless you count the uproarious short “Your Friend, The Rat”), no TV series, no high demand for a consumer product line, little to no character presence in any of the Disney parks, and it wouldn’t receive a proper ride until 2014; even then, it was added to Disneyland Paris (a clone was set to open in Epcot’s World Showcase last year though it was delayed due to 2020 being…2020). For whatever reason, nobody was interested in talking about it or utilizing its potential like most of Pixar’s other films. That apparently changed as of last year; Maybe the movie gave people that comfort food for the soul they craved during quarantine, or the Kingdom Hearts 3 minigames centering around Remy controlling Sora reminded them how fun it was, or maybe it was the Ratatouille musical meme on TikTok that became so popular that they turned it into an actual musical. But I have to ask, why? Why did Ratatouille fall off the radar for so many in the first place? Well, after poking my nose in a few places, the main consensus I got from people who didn’t believe it rose up to Pixar’s lofty standards was because they considered it “boring”.

Now I try to respect most other’s opinions when it comes to animated movies, but…boring?

Is fast-paced, expressive computer animation that still holds up with what Pixar puts out today boring?

Are colorful, relatable characters in a vibrant reimagining of the City of Lights boring?

Is an original story that shows how creativity can apply to an unlikely field and an even more unlikely creator boring?

Is one of the most iconic actors of the twentieth century delivering the greatest speech about criticism and its relationship to art boring?

If your answer is no, then you’ve come to the right review blog.

January Review: Fantasia 2000

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Last year I talked about Fantasia, which is not just one of my favorite Disney movies, but one of my favorite movies in general. And if I may be self-indulgent for a moment, it’s also one of the reviews that I’m the proudest of. Fantasia is a visual, emotional masterpiece that marries music and art in a manner few cinematic ventures have come close to replicating. One question that remains is what my thoughts on the long-gestated sequel is –

…you might wanna get yourselves some snacks first.

As anyone who read my review on the previous film knows, Fantasia was a project ahead of its time. Critics and audiences turned their noses up at it for conflicting reasons, and the film didn’t even make it’s budget back until twenty-something years later when they began marketing it to a very different crowd.

“I don’t wanna alarm you dude, but I took in some Fantasia and these mushrooms started dancing, and then there were dinosaurs everywhere and then they all died, but then these demons were flying around my head and I was like WOOOOOAAAHHH!!”

“Yeah, Fantasia is one crazy movie, man.”

“Movie?”

Fantasia’s unfortunate box office failure put the kibosh on Walt Disney’s plans to make it a recurring series with new animated shorts made to play alongside handpicked favorites. The closest he came to following through on his vision was Make Mine Music and Melody Time, package features of shorts that drew from modern music more than classical pieces.

Fast-forward nearly fifty years later to the golden age known as the Disney Renaissance: Walt’s nephew Roy E. Disney surveys the new crop of animators, storytellers, and artists who are creating hit after hit and have brought the studio back to his uncle’s glory days, and thinks to himself, “Maybe now we can make Uncle Walt’s dream come true.” He made a good case for it, but not everyone was on board. Jeffrey Katzenberg loathed the idea, partly because he felt the original Fantasia was a tough act to follow (not an entirely unreasonable doubt) but most likely due to the fact that the last time Disney made a sequel, The Rescuers Down Under, it drastically underperformed (even though the reasons for that are entirely Katzenberg’s fault. Seriously, watch Waking Sleeping Beauty and tell me you don’t want to punch him in the nose when Mike Gabriel recalls his opening weekend phone call).

Once Katzenberg was out of the picture, though, Fantasia 2000, then saddled with the less dated but duller moniker Fantasia Continued, got the go-ahead. Many of the sequences were made simultaneously as the animated features my generation most fondly remembers, others were created to be standalone shorts before they were brought into the fold. Since it was ready in time for the new millennium, it not only got a name change but a massive marketing campaign around the fact that it would be played on IMAX screens for a limited run, the very first Disney feature to do so. As a young Fantasia fan who had never been to one of those enormous theaters before, I begged and pleaded my parents to take me. Late that January, we traveled over to the IMAX theater at Lincoln Center, the only one nearest to us since they weren’t so widespread as they are now, and what an experience it was. I can still recall the feeling of awe at the climax of Pines of Rome, whispering eagerly with my mom at how the beginning of Rhapsody in Blue looked like a giant Etch-A-Sketch, and jumping twenty feet in the air when the Firebird’s massive eyes popped open. But did later viewings recapture that magic, or did that first time merely color my perception?

Rankin-Bass Month: The Little Drummer Boy (Review)

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The Little Drummer Boy began as a Christmas carol written under the title “Carol of the Drum” and was first recorded in 1951 by the Von Trapp Family Singers. Maybe you’ve heard of ’em. It was inspired by a long-lost Czech carol, and the French legend of a poor juggler who performs for a statue of the Virgin Mary. The idea of a performer humbly offering their own talents as a gift to a holy figure has been revised and retold in many ways throughout the years (the Tomie De Paola book The Clown Of God is a beautiful example), and has resonated so much in its current form that it’s brought together singers as diverse as Bing Crosby and David Bowie.

I’m willing to bet the song’s popularity is what attracted Rankin-Bass to it, but it still strikes me as an unusual choice for their first stop-motion special made following Rudolph. The R-B roster mainly consists of secular Christmas stories. Santa Claus is Comin’ to Town and Cricket On The Hearth barely touched on the Nativity in their tales. Little Drummer Boy, though? He doesn’t give a figgy pudding for Santa and wholly embraces the biblical side of Christmas. It’s only one of a handful Rankin-Bass specials that do – which means it’s buried beneath the more popular non-Jesusy Rudolph and Frosty outings. Heck, just look at the cover for Little Drummer Boy. Compare the covers for the other Rankin-Bass specials which advertise its celebrity narrator, or that they’re based on some “classic” story by a beloved author. There are TWO Academy-Award winning actors in the cast of Little Drummer Boy, and it’s partly based on what millions of people consider a true story, but instead of playing on that, there’s a cute tagline. Now I may be a tad prejudiced, but I find this to deliberate slighting of this particular Rankin-Bass special a bit unfair. Allow me to elucidate:

MovieBabble: Klaus is a Christmas Miracle for 2D Animation

I’m not going to beat around the bush, I LOVE Klaus. Drop everything you’re doing and go see it now.

…what, you still need some convincing? Fine, here ya go.

October Review: Coraline (2009)

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Close your eyes. Take a deep breath. Hold it for three seconds. And as you slowly exhale, say to yourself:

Henry Selick directed Coraline, not Tim Burton.

Henry Selick directed Coraline, not Tim Burton.

HENRY SELICK DIRECTED CORALINE, NOT TIM BURTON.

“Shelf? You got something you want to get off your chest before the review?”

“Yes indeedy do, Cynicism.”

I was waiting in line to meet Neil Gaiman at a Barnes and Noble book signing and a group of people behind me kept parroting a certain widespread falsehood to each other that drives me up a wall. Coraline was Henry Selick’s long-anticipated return to form after Monkeybone, and the film was advertised as being from the director of The Nightmare Before Christmas. HOWEVER, since that film tends to have Tim Burton’s name preceding its title, people often assume that he directed it. Ergo, those folks assumed Tim Burton directed Coraline and proceeded to bombard me with facts they pulled out of fat air to back themselves up. Never mind that a two-second glance at Wikipedia on their phones could have cleared all this up. And never mind that by attributing this stunning fantasy-horror masterpiece that Stephen King and Guillermo Del Toro wish they could have invented to the wrong man further pushes whom I consider the Chuck Jones of stop-motion animation into undeserved obscurity.

I corrected them on their erroneous assumption and pointed out that the genius we were about to meet would most likely agree with me as he himself has been trying to dispel this notion for the past decade. But they stubbornly refused to listen. No, these idiots, with all the bullheaded conviction of a staunch flat-earther, were determined to prove that Tim Burton really helmed Coralne. After all, what would Neil Gaiman, the man who wrote the book Coraline was based on and handpicked Henry Selick himself to direct the movie, know about it anyway? I quickly gave up and tried to focus on not word vomiting once I finally got to shake hands with my all-time favorite writer. In the end, I walked away with a copy of The Art of Neil Gaiman signed with a very encouraging message from the man himself, and no doubt the losers behind me ended up doing the walk of shame after Gaiman the Mighty lay waste to their narrow minds and dealt their egos an irreparable blow.

Anyways, I love Coraline. I love the animation, I love its creativity, I love most of the characters, I love how it doesn’t cop out when it comes to the scary elements, and I love how this was my introduction to Neil Gaiman’s work and to Laika Animation. As someone who is always eager to support new original animated films, I will forever kick myself for not seeing it in its original theatrical 3D because the visuals, well, they pop.

“In our defense, it was halfway through freshman year of college and we were too busy trying to stay on top of everything. Not to mention something as simple as a trip to the movies could have bankrupted us then.”

MovieBabble Link: Downton Abbey (The Movie) Review

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Confession time: I love Downton Abbey. I got to go to a preview screening of the long-awaited movie and as a fan of the show, I enjoyed it quite a lot! Click HERE to read my review of it!

And if you want to see the movie but need to catch up on the show, here’s a handy recap of all six series by Carson the Butler and Mrs. Hughes!

June Review: The Hobbit – The Desolation of Smaug (2013)

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“If this is to end in fire, then we will all burn together.”

Can you believe it’s been nearly four years since I reviewed the first Hobbit movie? *Sigh*, how time flies. My tastes may have matured and expanded, and I like to think my writing has improved too, but my thoughts on The Hobbit trilogy haven’t changed. The Lord of the Rings trilogy is superior, obviously, but I’m quite fond of this slightly smaller yet no less exciting adventure. I went into great detail why in the previous review, but if I had to sum it up I like how it expands upon Middle Earth lore hinted at in Lord of the Rings while decently tying it back to the events of those movies, and it fixes some major character and plot issues I had that kept me from fully enjoying the book it was based on.

While The Hobbit films do suffer from some the same issues as another prequel trilogy that people love to harp on – mainly an over-reliance on CGI and some contrived plotting – I’m relieved to say that poor performances and production value are not among them. The fact that they were able to bring together some great newcomers to the franchise as well as get as many cast members and locations from Lord of the Rings to return and make it all not feel like fanservice is a testament to the writing, craftmanship and direction that went into making these films, even more so since they were under double the studio pressure than they were the first time around. And if I may be shallow for a moment, it also looks really nice. Sometimes I like nothing more than to get lost in an inviting woodland fantasy atmosphere and this scratches my itch every time.

Now we have the much-anticipated Part 2, The Desolation of Smaug. This incarnation of The Hobbit was originally supposed to end here. But at the last minute it was decided that the Battle of the Five Armies, which happens during the last fifty pages of the book, was too important to relegate to the last act of a film that could potentially overreach The Return of the King’s runtime so they made it its own separate movie. I should mention that the copy of Desolation of Smaug I’m reviewing is the theatrical version since I received it as a gift. I saw the extended edition when it came out on blu-ray and the comparison between the two is an…interesting one. The extended cut fixes some of the inconsistent pacing and adds a few welcome character moments both original and from the book, but the rest I could do without. Some scenes stop the movie, sidetrack the main plot for something else to happen and take you out of the moment as a result, or simply add way more than necessary. One of these days I might get around to editing my own cut combining the best of the two, but for now I’d say you’re better off sticking with the theatrical cut in this case. Just to give you an idea of what I’m talking about, I’ll give special mention to those parts when they’re supposed to come up. So let’s find out if it was it a wise decision to split these movies up or if those naysayers who edited the entire trilogy into one forty-five minute feature were right.